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Sandeep Srivastava - August 29, 2024 12:30

If you’re like a handful of parents from Grand Rapids, Michigan chances are you’ve complained more than once about the lack of family-friendly films at your local movie theater. According to Dick Rolfe, Dove Foundation cofounder and CEO, “We were frustrated because we felt inadequate to make selections on behalf of our children without watching the films themselves beforehand. And we didn’t trust the Motion Picture ratings; G, PG, PG-13 and R.”

So in 1990, Rolfe and several other parents started reviewing and assigning their own ratings to films. At first they just made a sort of laundry list of movies they liked and handed it out to friends, family and church members.

The list was a hit due to a national news story, and Rolfe received over 2,000 requests from families all across America for the list of approved movies.

He created the non-profit Dove Foundation dedicated to advocating for families and moving Hollywood in a more family-friendly direction.

The Dove reviews, posted online at www.dove.org, are based on traditional Judeo-Christian values. There is a content chart and descriptions that gauge six criteria:  S ex,  L anguage,  V iole nce,  D rug and alcohol use,  N udity, and  O ther. While Dove’s scorecard reviews online are what Dove is probably best known for, the Foundation is making waves behind the scenes, too.

“We commissioned an industry-wide study in 2012 that revealed the fact that over the previous 5 years, Hollywood produced 12 times more R rated movies than G. And yet, during that same period of time the average G rated film was 9 times more profitable than its R rated counterpart.” Rolfe sent a copy of the Film Profitability Study to every major studio exec in Hollywood…to show them that family movies can be profitable…and there is a large family audience out there waiting to get back in the theaters.

“Our influence with the movie studios has grown to the point where some films are sent to our Grand Rapids office well in advance of release, sometimes even in rough cut,” says Rolfe. “On a several occasions we have expressed concern about a few things we thought might offend the family audience. Studios cleaned them up and we were able to give them our Dove Seal.”

The Dove Seal was referred to by the late entertainment legend, Steve Allen as “the Good Housekeeping seal for family entertainment.”

The Dove website is visited by parents like Vickie Vermeer. She logs on to www.dove.org for guidance when it comes to choosing which movies her kids can see. Ten times out of ten she says she’ll trust Dove’s scorecard review over one written by a film critic in the general media.

“When we read a review in our local paper or in the NY Times, the reviewers are coming from a different perspective,” says Vermeer. “They’re looking more at the quality or artistic value of the film. They have more tolerance for the violence or language or sexual content for the movie; whereas The Dove Foundation’s guidelines are more in line with our own family’s values and that makes us feel comfortable when choosing our entertainment.”

Wings Of The Dove

What happens in Henry James takes place deep within stories where, on the surface, the characters go languidly about their lives of privilege. They subscribe to a code of what is done and what is not done. They know exactly what it means to be a gentleman or a lady; those titles are like decorations, to be worn invisibly at social occasions. And then in the privacy of their souls, some of James’ characters darkly contemplate getting their way no matter what.

“The Wings of the Dove” is the cold-blooded story of two British lovers who plot to deprive a rich American girl (“the richest orphan in the world”) of her heart and her inheritance. What makes it complicated–what makes it James–is that the two lovers really do like the rich girl, and she really does like them, and everyone eventually knows more or less precisely what is being done. The buried message is that when it comes to money, sex, love and death, most people are prepared to go a great deal further than they would admit. There is, if you know how to look for it, incredible emotional violence in the work of Henry James. This new film of his famous novel makes two significant changes. It moves the action up slightly, from 1902 to 1910. And it makes the British woman a little more sympathetic than she was in the book. The second change flows from the first. James’ story, which he began writing in 1894, embedded the characters in the world of Victorian propriety. By 1910, the actions they contemplate, while still improper, were not unthinkable; modern relativism was creeping in. Kate Croy, whose desire fuels the story, was more selfish and evil in the James version; the film softens her into someone whose actions can almost be defended as pragmatism.

Kate, played with flashing eyes and bold imagination by Helena Bonham Carter, is a poor girl with a tenuous foothold in society. Her father is a penniless drunkard. Her mother is dead. She is taken in by her wealthy Aunt Maude ( Charlotte Rampling ), who wants to marry her off to the best advantage–perhaps to Lord Mark (Alex Jennings). But Kate loves Merton Densher ( Linus Roache ), an ill-paid journalist who cheerfully admits he doesn’t believe the things he writes. Maude forbids the marriage and even threatens to cut off the weekly shillings she pays Kate’s father.

What is Kate prepared to do? Characters talk a great deal in Henry James, but are sometimes maddeningly obscure about what they mean (does any other novelist use the word “intercourse” more frequently, while not meaning by that word or any other what we immediately think of?). They talk much less in this film, where facial expressions imply the feelings that are talked around in the novel. My guess is that Kate might have eventually married the odious Lord Mark, while continuing quietly to see Merton Densher.

But that is not necessary. At a dinner party, she meets Millie Theale ( Alison Elliott ), the rich young American, and discovers that Millie has an unnamed disease, possesses hardly a protector in the world except for her traveling companion ( Elizabeth McGovern ), and intends to see Europe and die. One of the things Millie wants to experience in Europe is romance; she doesn’t say so, but she is looking for a man, and when she sees Merton, she asks Kate about him.

“He’s a friend of the family,” Kate replies–a lie of omission, because Kate and Merton are secretly engaged. Kate’s plan is clear. She will accompany Millie to Venice. Merton will join them there. Millie will fall in love with Merton, marry him, die and leave him her fortune. Merton will then have the money he needs to marry Kate. This scheme unfolds only gradually in the James novel, emerging from behind leisurely screens of dialogue and implication. It is more clear in the film, especially in a dark, atmospheric scene where Kate and Merton walk down deserted Venetian passages. She tells him she is returning to London and outlines what she expects him to do. Then, to seal the bargain, they have sex for the first time. (They do it standing up against the old stones of Venice; one imagines the ghost of James turning aside with a shudder.) Iain Softley’s film, written by Hossein Amini , emphasizes Kate’s desperation and downplays her cold calculation. It softens the villainy of Merton by making it clear how desperately Millie does want to be involved in a romance with him; is he simply granting her dying wish? There is another fugitive strand of affection in the film that I did not sense in the book: Millie and Kate genuinely like each other, and it’s almost as if they strike an unexpressed bargain, in which Kate lets Millie have the use of Merton–lets her find what she came to Europe for. The money is crucial, of course, but too vulgar to be discussed.

In its stark outlines, this plot would be at home on a daytime talk show (“Sold her lover to a dying rich girl”). But the film sets it at a time when standards were higher, when society had clear expectations of moral behavior. The reason we’re so fascinated by the adaptations of James, Austen, Forster and the others is that their characters think marriage, fidelity, chastity and honesty are important. In modern movies, the characters have no values at all.

In “The Wings of the Dove,” there is a fascination in the way smart people try to figure one another out. The film is acted with great tenderness. If the three central characters had been more forthright, more hedonistic, we wouldn’t care nearly as much. But all three have a certain tact, a certain sympathy for the needs of the others. At the end, when Millie knows the score, she can at least be grateful that she got to play the game.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

• Helena Bonham-Carter as Kate Croy
• Alison Elliott as Millie Theale
• Linus Roache as Merton Densher
• Elizabeth McGovern as Susan
• Michael Gambon as Kate's Father
• Charlotte Rampling as Aunt Maude

Based On The Novel by

• Henry James
• Hossein Amini

Directed by

• Iain Softley

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Cinedigm buys christian cinema streaming service, dove movie review site.

The deals get the digital media company deeper into the faith and family content market.

By Etan Vlessing

Etan Vlessing

Canada Bureau Chief

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Digital media company Cinedigm Corp. has acquired the streaming service Christian Cinema and Dove.org, a movie review site for Christian-themed films.

Terms of the deals were not disclosed, but they expand Cinedigm’s presence in the faith and family content space. Dove.org is a movie review and ratings service, and the transaction will see the property combined with Cinedigm’s existing streamer Dove Channel.

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Japanese remake of cult sci-fi hit 'cube' goes to cinedigm (exclusive), berlin: cinedigm takes 'country gold' for north america.

“This pair of acquisitions immediately provides us with an established consumer base, immediately accretive revenue and multiple new avenues for growth. Much like we have done in other verticals, we expect to dramatically ramp up our offerings in original theatrical releases, podcasts, publishing, audiobooks and more,” Erick Opeka, president and chief strategy officer of Cinedigm, said in a statement.

The box office success of movie titles like I Can Only Imagine and Miracle From Heaven  has given impetus to an expanding content market for faith and family-friendly films and TV series.

Cinedigm is led by Chris McGurk as chairman and CEO and operates a range of streaming channels and third-party platforms as it looks to leverage its own library, technology and distribution abilities to expand its online content offering.

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Two love stories make the movie; one portrays the good things that love brings to the lives of those who get to experience it while the other shows the bad side.

‘Babygirl’ Review: Nicole Kidman Is Fearless in an Erotic Office Drama About the Age of Control

Halina Reijn's adultery drama recalls films from "Unfaithful" to "9½ Weeks," but with a corporate kinkiness that's both up-to-the-minute and humane.

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Early on, we see Romy in the office and in the mission-statement videos she makes for the company, where every upbeat word is market-tested, including a reference to how “nurturing” the company is — even though its all-robot premise basically results in putting people out of work. (The way Romy sees it, she’s liberating them from menial jobs.) The movie offers up a sly take on what’s happening in corporate culture today, though what gives that its kick is the way that it all connects to Romy’s pent-up sexuality, and to the forbidden office hookup that’s about to ensnare her.

The young man who’s going to ignite Romy’s fantasies is Samuel ( Harris Dickinson ), one of the company’s new slate of interns. That’s right: This is a movie about a fiftysomething boss who falls into an affair with a work dude who’s barely out of college. If “Babygirl” had been made 20 years ago, the movie would probably have been conceived as a “cougar” fantasy. The first time Romy and Samuel saw each other, it would have been all about their animal magnetism. But Reijn does something shrewder than that.

The two characters meet when the interns are given a tour of Tensile’s sprawling lower Broadway office suite. They’re paraded into Romy’s office, at which point Samuel asks her an incredibly rude question about the company’s robot premise. Dickinson, the gifted actor from “The Iron Claw” and “Triangle of Sadness,” his baby face set off by a jagged haircut, is like a more blunt-edged Austin Butler. His Samuel is telling Romy, before they’ve barely glanced at each other, “I make the rules. By breaking yours.” And that’s what’s sexy. These are great-looking actors, yet in “Babygirl” their chemistry is all about — only about — the promise of transgression. Each time Samuel sees Romy at the office, he confronts her with another casually hostile negging remark. He shoots past all niceties and small talk. His “flirting” is an aggro assault. And that’s why she can’t resist it.   

“Babygirl” turns into a shrewdly honest and entertaining movie about a flagrantly “wrong” sadomasochistic affair. In “Bodies Bodies Bodies,” Reijn created a tone of overwrought satirical slasher pulp, but here she settles into a far more realistic mode, and brings it off with flair. The movie is reminiscent, at times, of “Fair Play,” but it’s also a tale of adultery that pushes genuine emotional buttons, the way “Unfaithful” did 20 years ago. And that’s rooted in the fearless performance of Kidman.

Straddling the identities of mother, boss, defiant adulterer, and trembling sexual supplicant, she’s like a walking mood ring. Her Romy takes off from a long-standing (hidden) reality: that people who are hooked on wielding power can have primal fantasies of being sexually submissive. For decades, prominent male executives have been keeping B&D sex workers in business, but in movies we haven’t seen the corporate gender tables turned in quite this way. For a while, “Babygirl” comes on like a less glossy “9½ Weeks,” as Samuel breaks down Romy’s defenses, notably in a scene where people from the office are having cocktails after work and he sends her over a drink … of milk. He’s saying, “You’re my baby girl.” And when she drinks it down, she’s saying, “Yes I am.”

Does it all come tumbling down? “Babygirl” has a conventional design (and one very good eye-candy needle drop, in which the tattooed Samuel snake-dances to George Michael’s “Father Figure”). But one of the film’s strengths is that it avoids the sort of roller-coaster last act that we expect from an “erotic thriller.” There’s an old-school moralism at work in movies like “Fatal Attraction,” where the characters are punished for their sins. Reijn is after something different — she’s out to liberate characters who are too busy punishing themselves. “Babygirl” takes a few turns we don’t expect, but that’s because the movie’s ambition isn’t just to feed the thriller engine. It’s to capture something genuine about women’s erotic experience in the age of control.

Reviewed at Venice Film Festival (In competition), Aug. 30, 2024. Running time: 114 MIN.

• Production: An A24 release of a 2AM, Man Up Film release. Producers: David Hinojosa, Julia Oh, Halina Reijn. Executive producers: Christine D’Souza, Gelb, Erika Hampson, Zach Nutman.
• Crew: Director, screenplay: Halina Reijn. Camera: Jasper Wolf. Editor: Matthew Hannam. Music: Cristobal Tapia de Veer.
• With: Nicole Kidman, Harris Dickinson, Sophie Wilde, Antonio Banderas, Esther McGregor, Vaughn Reilly, Victor Slezak.

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‘Afraid’ Review: Hey Siri, Don’t Kill Us

A family surrenders control of its life to artificial intelligence with predictably dire results — for this movie’s viewers.

• Share full article

By Elisabeth Vincentelli

Curtis and Meredith (John Cho and Katherine Waterston) should have had their spidey senses tingling when their new digital assistant, AIA, dismissed one of its competitors with a breezy “Alexa, that bitch?”

Instead, the couple and their three children, all of whom are endowed with a mix of entitlement and shopworn neuroses, give AIA (pronounced Aya, and voiced by Havana Rose Liu) the keys to their lives. The new gizmo is more than convenient, you see — AIA, which sees and hears everything, anticipates then solves everybody’s problems.

Watching any movie in which artificial intelligence goes rogue (and there are a lot), it’s hard not to think that humankind is rushing to its doom because we were too lazy to manually turn on a light or pick a song. But before we get to the age of the machine, films like Chris Weitz’s limp techno-thriller “Afraid” are attempting to ring an alarm bell.

As AIA takes control of every aspect of its new household — the movie feels as if it’s set five minutes into the future — it quickly becomes obvious that this assistant wants to be the boss. This scenario’s predictability could be forgiven were the movie effective on any level, but it just isn’t, from Cho and Waterston’s wooden performances to jump scares that would not startle Scooby-Doo.

Early on, Meredith drops a reference to HAL 9000, the malevolent computer from “2001: A Space Odyssey .” This suggests an awareness of the dangers of ahead, but does she change her behavior? Of course not: Unlike AIA, these humans don’t learn.

Afraid Rated PG-13 for the occasional bad word. Running time: 1 hour 25 minutes. In theaters.

Screen Rant

You gotta believe review: luke wilson's unmemorable sports drama never knocks it out of the park.

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Kill The Jockey Review: Argentinian Sports Drama Delivers A Confounding Journey Worth Taking [Venice]

The sandlot star's new baseball movie is perfect while waiting for upcoming sequel, what happened to bobby & robert ratliff after you gotta believe.

You Gotta Believe stars Luke Wilson and Greg Kinnear as the coaches of an underdog Little League baseball team. This rag-tag group makes it to the Little League World Series in this semi-uplifting sports movie based on a true story. Unfortunately, You Gotta Believe doesn't transcend or subvert the well-worn genre, opting to tell a disorganized narrative that doesn't develop its characters enough to earn its climactic ending. Directed by Ty Roberts and written by Lane Garrison, You Gotta Believe will likely be a blip on the radar for audiences and the actors in the film.

You Gotta Believe

Narratively, it's difficult to argue with the experience of the Fort Worth, Texas Little League team that beat the odds and dedicated their streak to a teammate's father who had cancer. However, there's plenty to object to in how the film breaks down the story. Aside from the script, one of the most distracting aspects of the movie is the extremely shallow depth of field, making the film look more like a nature documentary than a feature. This type of cinematography doesn't lend itself to movement, which is detrimental to a story about a sports team.

You Gotta Believe Is A Touching Story (But The Screen Adaptation Doesn't Justify Itself)

There's no clear reason why the narrative was made into a film, even if it's a sweet tale.

Neither Wilson nor Kinnear will be remembered as the best sports movie coaches , as the men mainly serve to deliver platitudes and grimaces during one of several montages. In terms of acting, the adults give serviceable, one-note performances that can't uplift the script. It's surprising Kinnear and Wilson took on this project, as it doesn't do justice to their careers. Sarah Gadon plays Patti, the wife of Wilson's Bobby Ratliff, the father who is diagnosed with cancer. Gadon's character has little to do except look worried, but this rings true for most of the roles.

There's little to no background or exposition given about the characters and their lives, and the child actors are nearly indiscernible from each other until the film's final act. Unfortunately, the children are too young, and the ensemble is too big for us to get to know them or care about their futures. They're at the nebulous age when there's no threat of college and no pangs of puberty. This creates a lack of dramatic tension for the outcome of their games and is made worse by the static way the baseball scenes are filmed.

Despite its many missteps, the ending of You Gotta Believe would pluck even the most cynical heartstrings.

With choppy pacing and a weak connection between the dual narratives, it's hard to care about the characters. The dichotomy of joy and tragedy is an essential part of life. However, You Gotta Believe can't find a tonal balance that doesn't make the jumps between training montages and melancholic moments in a hospital quite jarring. Incorporating hardship and loss into a sports narrative is possible. You Gotta Believe is similar to the underdog tale, The Long Game . But while The Long Game is also based on a true story , it has a concrete payoff and is easy to follow.

Despite its many missteps, the film's ending would pluck even the most cynical heartstrings. The cameo appearances by the grown-up players are a strong appeal to our pathos. However, this emotional beat feels like an epilogue to a different film and is out of place. This drives home the realization that moments of inspiration or devastation are thanks to the factual events the film is based on, not any cinematic techniques.

For a few minutes, I thought Kill the Jockey might end up my favorite movie premiering at this year’s Venice Film Festival. Then it changed.

You Gotta Believe Makes Artistic & Stylistic Choices (But Fails To Create Cohesion)

It can't make up its mind about what kind of movie it wants to be.

A few of the film's stylistic choices were enjoyable and stood out, like the 4:3 footage. These shots are meant to look like the 2002 recording of the Little League World Series. If the movie had included even more nods to the setting and period with fun choices, it would have had an even bigger impact. Additionally, there were moments in the final game, when the team made it to the series, when I became invested in the outcome of the competition. But it was the only time I felt any semblance of stakes or tension throughout the film.

There is a decent movie hidden somewhere deep inside You Gotta Believe , but it never makes an appearance. Individual elements like children's baseball, the grief of watching a parent succumb to illness at a young age, and the joy of being on a team are all significant, relatable themes. However, none of them are explored deeply enough to make an impression. The surface-level script and refusal to commit to any character's development make the story and characters shadows of what they could have been.

You Gotta Believe is now playing in theaters.

A determined high school baseball coach takes on the challenge of transforming a team of misfit players into a championship-winning squad. Along the way, the coach faces personal and professional obstacles while instilling a sense of belief and teamwork in his players.

• A few of the film's stylistic choices stand out
• The film can't find a tonal balance
• The actors give one-note, unmemorable performances
• There's a lack of dramatic tension
• Themes aren't properly explored

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